To mark the fiftieth anniversary year of Benjamin Brittens death, Jane Mackay has painted a picture inspired by each of his works with an opus number; 100 in all. Her work is informed by her synaesthesia a condition in which the brain translates sound into colour her love for Brittens music and her empathetic perception of its structure. The complementary book of Mackay's 2026 Aldeburgh Festival exhibition reproduces in full colour all 100 of Mackays responses to Brittens music, together with insightful commentaries by musicologist Andrew Plant. The Foreword is by celebrated oboist Nicholas Daniel, a long-standing enthusiast for Mackays work.
Arvustused
'I believe Jane Mackay has achieved something momentous, something exploding with creativity and joy, respectful and full of homage, yet deeply individual and authentic. Nicholas Daniel
You have my heartfelt gratitude for your wonderful artistic works which truly express the music of the genius who united us. Mstislav Rostropovich (1993)
Muu info
Launch Event
18 June 2026, 10:3016:30
The Red House, Aldeburgh (free event)
This free launch event at Brittens former home will include music performed by Nicholas Daniel (12:00 and 14:00). Many of the paintings will be on display at The Red House and will be available for purchase together with the accompanying book. There will be an opportunity to meet the artist, Andrew Plant and the team behind the project.
Foreword Nicholas Daniel ix
On Painting Britten Jane Mackay xi
Introduction Andrew Plant xvii
The Paintings 1
References 201
Genres, Forces and Dates of Composition 204
Acknowledgements 208
Index 210
Jane Mackay qualified in medicine at Westminster Medical School in 1970. Following thirty years working as a doctor, as a volunteer in Papua New Guinea and then as a GP in south London, she changed career to practise as an artist, gaining a Masters in Fine Art at Wimbledon College of Arts, University of Arts London. As a synaesthete she specialises in painting music, particularly the works of Britten whose music has been central to her life, often transformed into extended sequences on individual scores, such as The Turn of the Screw or War Requiem.
